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Willie Doherty
Published to accompany the exhibition Willie Doherty: false memory held at the Irish Museum of Modern Art, Dublin -31 October 2002 - 2 March 2003.
John Stezaker
The expanded second edition of this popular collection of John Stezaker's 'Masks' features the development of the series over the artist's career. Stezaker's long-term fascination with the image is translated into alterations, deletions, visual concordances and juxtapositions of disparate sources, intuitively creating new images, relationships, characters and meanings. The 'Masks' series pursue the artist's ongoing interest with the hidden face, notions of the interior and exterior and blindness.
Thomas Scheibitz
Over 30 new works exploring abstraction and representation.
Scales and Feathers
None
Poetry in Contemporary Irish Literature
This is the second of four collections of essays intended to be published under the general title Studies in Contemporary Irish Literature (only two were) which are devoted to critical analysis of Irish writing since the 1950s.
My Father's Work Shed
This is a collection of poems and paintings written and painted over the course of the past eleven years. The book deals with loss, and the poems and paintings contribute a diffuse sense of the memories, places, and nostalgias that accompany it. The connection to Ireland and my childhood there is heightened by geographic distance and the recent passing of my parents. Though the subject matter is deeply personal, I engage with contemporary art practice. I am concerned with aspects of language and the visual; how they can coexist yet never fully resolve. The paintings explore the legacy of modernist abstraction as much as they deal with personal content. Though I begin with childhood memories I develop a concurrent relationship with light, perception, material, and color; the ever -shifting background of Irish skies informing my complex relationship with twenty-first-century America.
Thomas Demand
Stairs, ladders and lifts are the motifs of Thomas Demand's latest monograph, L'Esprit d'Escalier, which is published on the occasion of his show at the Irish Museum of Modern Art in Dublin. The title actually refers to so-called "staircase wit," that concise French expression for the chagrin of missed retorts--those hapless comebacks one only ever thinks up belatedly (i.e. when already descending the stairs): "I should've said (fill in blank)!" etc. One of Demand's ironic allusions to his title is a new work titled "Landing," which shows the shards of broken Qing vases on a staircase--a mishap caused by a visitor to The Fitzwilliam Museum Cambridge in January 2006, who stumbled on his shoel...
Cecily Brown
"Cecily Brown is among the most talented painters of her generation. With a formal repertoire indebted as much to porn magazines, comic books and Hollywood movies as it is to the work of De Kooning, Bacon and Hogarth, Brown not only addresses the subject of painting as inextricable from its own history, she engages with the experience of painting as an intensely physical act." "Published to accompany Brown's first major exhibition in Britain at Modern Art Oxford, this fully illustrated book features reproductions of key paintings from the last five years. Two new essays by the exhibition's curator, Suzanne Cotter and writer and critic Caoimhin Mac Giolla Leith offer an overview of Brown's work to date within the context of current painting."--BOOK JACKET.
Scott Myles
The oeuvre of Scottish artist Scott Myles is strongly gestural. It consists of photographs, objects, serigraphs, paintings and performance-based projects--a kind of reactivation of ideas on the valuation of art and social reality by means of the re-use of already established aesthetic codes. Thus, along with known art-historical works and their themes, concepts such as generosity or communication play a big role, as well as the involvement of the subject in his/her own environment. Myles' work, however, also always deals with his experience as an artist, with the role of the viewer and a certain openly-avowed romanticism. Along with all of this is a high degree of fictionalization, and, included in these fictions, the potential for producing art. This volume offers a comprehensive look into Myles' artistic production from 1999 to 2006.
